A Human History of Sound and Listening, A Scientific Odyssey of Sound, A World View, Aaron Mahnke, Acoustic Ambiguity, Acoustic Environment, Acoustic Environments, Acoustic Rorschach, AHRC, Ale Hop, Alva Noto, Always Alive Recordings, Ambiguity, An Adventure In Apophenia, Anòmia, Anders Monrad, Andrew Hugill, Andrew O'Hagan, Apophenia, Apophenia Audio, Apophenia Cloud Travel Apparatus, Apophenia Delay, Apophenia Delay Pedal, Apophenia Guitar Pedal, Apophenia Luxmorph, Apophenia Press, Appliance, Archive 81, Archive81, Art & Illusion, Art & Illusion for Sound, Artefact, Artist, Arts & Humanities, Arts & Humanities Research, Arts & Humanities Research Council, Audio Apophenia, Audio Inkblot, Audio Paredolia, Audio Pareidolia, Audio Phantoms, Audio Rorschach, Auditory Ambiguity, Auditory Apophenia, Auditory Illusion, Auditory Illusions, Auditory Inkblot, Auditory Projective Test, Auditory Rorschach, Aura Satz, Aural Diversity, Baltic, Barbara Ellison, Belus, Black Tapes, Black Tapes Podcast, Bluecoat, Boundary Condition, Buh Records, Carbonic Oscillation, Carsten Nicolai, Cave Leeds, Centre for Audio Visual Experimentation, Channel One Channel Two and Channel Three, Clare O’Dowd, Claudia Firth, CM von Hausswolff, Cognitive Illusion, Confounded by Apophenia, Continent, Creative Research, Creative Research into Sound Arts Practice, CRISAP, Daniel Powell, David Batchelor, David Hendy, David Wesley Sutton, Dead Lines, Dead Signals, Dead Signals Podcast, Delicious Audio, Die Macht der Sprache, Dr Milo Taylor, Dr. J. Milo Taylor, Dragan Spasov, Drawing Phantoms, Drone Rorschach, Duke University Press, Dyslex, Earslips, Earslips: Of Mishearings and Mondegreens, EH Gombrich, Eigen+Art, Eigen-Art, Electronic Voice Phenomena, Eleonora Oreggia, Erik Deerly, Erminio Alekos Serpente, Errant Bodies Press, EVP, Ex Anima, Faster Circuits, Felicia Barr, Florian Hecker, Force of Listening, Francisco Lopez, Ghost in the Machine, Ghosts and Demons, Goldsmiths, Grace Schwindt, Halluzination Perspektive, Halluzination Perspektive Synthese, Halluzination Synthese, Harpers Bazaar, Haunted Media, Haunted Technology, Hayward Gallery, Hayward Touring, Hearing Lips, Hearing Lips and Seeing Voices, Hearing Voices in the Noise, Henry Moore Foundation, Henry Moore Institute, High Static, Holographic Skies, Human Conversation, Humanities Research, Humour in the Water Coolant, ICA, ICA London, If The Spirit Moves You, Illusion in Speech and Language, Image Text Sound, International Necronautical Society, Islington Mill, J. Milo Taylor, Jamie Hamilton, Jennifer Higgie, Jo Burzynska, Joe Banks, Joel Cahen, John Drever, John Latham, John Levack Drever, Julie Wolfe, Justine Picardie, Konstantin Raudive, Kristen Gallerneaux, Kunsthalle Wien, Kunstverein Gartenhaus, Larry Sider, LCC Crisap, Left of the Dial, Left of the Dial Podcast, Leverhulme, Leverhulme Trust, Listening, Listening Arts Channel, Loco-Lab, London College of Communication, London Consortium, Lore, Lore Podcast, Lucia Farinati, Lumisokea, LXV, Macht der Sprache, Magic Lantern, Marc Sollinger, Marina Warner, Mark Underwood, Martyna Poznanska, Matt Collier, McGurk Effect, Mike Kelley, Milo Taylor, Mishearing, Mishearings, Mondegreens, Mr. Bill, Musical Ear, Musical Ear Syndrome, Musical Illusion, Natural Phantoms, Neil Matheson, Netflix, New York University, Nicholson Heal, Nick Thurston, NMC Recordings, Noise, Norwich University, Now You're Talking, Oenosthesia, Offprint London, Oliver Sacks, Olivia Erlanger, Oxford Brookes, Oxford Brookes University, Paradox, Paredolia, Patrik Lechner, Paul Bae, Paul Whitty, Pedagogies of the Ear, Penelope Curtis, Phantasma Humana, Phantasmata, Phantasmata and Illusions, Phantasmatic, Phantasmatic Audio, Phantasmatic Sound, Phantom Portraits, Phantom Sounds, Poetry as I need it, Power of Language, Printed Matter, Printed Matter Chelsea, Psychoacoustics, Psychoacoustics and Sonic Illusion, Raster Noton, Raudive Surrogate, Research Council, Research Unit, Robin Rimbaud, Rorschach Audio, Rorschach Device, Rorschach Devices, Rorschach Sound, Routledge, Royal Conservatory, Ruede Hagelstein, Sain Sŵn, Sainsŵn, Sally Tallant, Salome Voegelin, Sam Belinfante, SARU, Sas Mays, School of Sound, Seeing Voices, Sensory Deception, Serpentine Gallery, Sheffield Institute of Arts, Site Gallery, Soft Opening, Sonic Arts, Sonic Arts Research Unit, Sonic Diversity, Sonic Illusion, Sonic Inkblot, Sonic Phantoms, Sonic Rorschach, Sonic Rubbish, Sonic Spectres, Sonic Studies, Sonic Wonderland, Sonology, Sonology Education, Sound Art, Sound Artist, Sound Arts Practice, Sound Studies, Soundscape, Soundscapes, Speak, Spectral Communication, Speech and Language, Stanier Black Five, Stanley Picker Gallery, Static Man, Stefan Goldmann, Stelarc, Steven Connor, Steven Pinker, Strange Attractor Press, STUK, Susan Hiller, Suzanne Treister, Tate Britain, Tate Modern, Team IF, Technologized Listening, Technology and Spiritualism, Terry Miles, The Act of Magic, The Black Tapes, The Black Tapes Podcast, The Hague, The Language Instinct, The Leverhulme Trust, The Machine and the Ghost, The Power of Language, The Power of Speech, The Static Man, The Weight of Words, They Might Be Giants, Thomas Y. Levin, Tom McCarthy, Trevor Cox, Trickster, Unit for Sound Practice Research, University of Brighton, University of Huddersfield, Valie Export, Venetian Veil, Vocal Phantoms, We’re All Bats, Weight, Weight of Words, Words, Writing Around Sound, Xname
“Rorschach Audio” lecture-demonstration in Leeds
Weds 22 Oct 2014, 2pm to 3.30pm
Lecture Theatre D
Chemistry Building
University of Leeds
Leeds LS2 9JT
Admission is free and the lecture is open to the public. The presentation is part of the Visiting Artist’s Talk series organised by The School of Fine Art, History of Art and Cultural Studies, University of Leeds.
Visiting speakers last year included Stelarc, David Batchelor and Penelope Curtis. Visitors this year include Jennifer Higgie, Sally Tallant and Grace Schwindt.
From → Uncategorized
see you there – pete